Elements of North Indian Vocal
Overview
There is a normal procedure for developing a North Indian classical vocal performance. The exact procedure is determined by the genre (e.g., dhrupad, kheyal, etc.). However regardless of the genre, there are a few well defined structures. We will now introduce these.
Alap and nomtom are two basic structures. Alap is a slow rhythmless elaboration upon the rag; this is at the beginning of most performances. After the alap, some styles move into a form which has rhythm but no rhythmic cycle. This is known as nomtom.
The theme is very important in North Indian vocal. There may be up to four themes. The most important is the sthai (primary theme) and the antara (secondary theme). Additionally one may sometimes find other themes such as the sanchari and the abhog.
The tihai is an important component. Whenever one is improvising, it is important to have some device to resolve this improvisation. The tihai performs this function. It is basically a phrase which is repeated three times. This is a musical punctuation which breaks the performance into artistic sections.
Another important part of the vocal performance is the tan. A tan is a long trill of notes performed at a very high speed.
| THESE BOOKS MAY NOT BE FOR YOU |
|---|
A superficial exposure to music is acceptable to most people; but there is an elite for whom this is not enough. If you have attained certain social and intellectual level, Elementary North Indian Vocal (Vol 1-2) may be for you. This has compositions, theory, history, and other topics. All exercises and compositions have audio material which may be streamed over the internet for free. It is available in a variety of formats to accommodate every budget. Are you really ready to step up to the next level? Check your local Amazon. |
Alap (Vocal)
The alap is a totally rhythmless style based upon a free elaboration upon the rag. It is usually the introductory section. The alap may vary in length from a few seconds to over an hour. It is in this section that a rag is explored completely.
There are several types of alap. Whenever there are no words or bols, it is called anakshar alap. Whenever words or bols are used it is referred to as sakshar alap. It is very common to use words of the subsequent song or in some cases general purpose words such as anantha, hari, om, or narayan.
Although alap does not have a wide popular appeal, it is still considered the mark of proper training. Where other forms of the song allow some latitude in the interpretation of the rag, the alap requires strict adherence to the rules. This requires a firm knowledge, therefore the execution of alap is very difficult.
The vocal alap will always be accompanied by some instruments. The tanpura is always present. Other instruments may also be used.
Nomtom
Nomtom is an intermediate introductory vocal style. It contains a simple rhythm but no developed rhythmic cycle (tal). This is found in dhrupad and related styles but today is rare. It is basically a vocal version of the Jor
Sthai (Asthai)
The sthai also known as the asthai, is the primary theme for vocalists. This is similar to the refrain in Western music. It is fairly fixed (i.e., not improvised) and forms the basis for most north Indian vocal performances. This theme is typically short; generally one to three cycles in length and may be recognised by its prominence. It is usually performed in the madhya saptak (middle register).
Antara
Antara is the secondary theme of a vocal performance. It is easily recognised because it is introduced well after the sthai. It is also easy to recognise because it tends to be performed in the tar saptak (upper register). Although a classical piece has only a single antara, the semi-classical and light pieces may have numerous versions.
Abhog
Abhog is the tertiary theme of a vocal performance. Like the sanchari it is characteristic of the older forms like dhrupad and dhammar and is seldom heard today.
Sanchari
Sanchari is the quaternary theme of a vocal performance. This is usually found in the old dhrupad styles and is seldom heard today.
Tihai
The tihai is a rhythmic device which uses a passage repeated three times. In most cases the last note of the tihai corresponds to the sam (first beat of the cycle). Although ending on the sam is common, tihais may begin anywhere.
The tihai does not have to end on sam. Ending on the sam is the most common but sometimes a vocalist uses it to end on the start of the sthai or antara. This flows very nicely back into the theme and allows the musician to reestablish it before moving into another passage.
Each phrase of the tihai is called a palla. Although three is the normal number sometimes each palla is itself a tihai. In which case there will actually be nine pallas; this form is called a chakradar tihai.
A tihai is sometimes very small, just a few notes. This form is often used as an ending for a section. For instance if one is singing a very long tan, then it is common to take a small phrase and repeat it thrice to come to a resolution.
A tihai is regularly used to end the entire piece. For such endings it is usually the sthai which is modified so that when played thrice it will end on the sam.
Tihais are not just for vocalists. There are also tabla tihais and instrumental tihais.
Tan
The tan is an important part of the vocal performance. A tan is a fast trill of notes performed in a very high speed. If the vocalist sings the notes of the tan it is called a “sargam tan”. If the vocalist uses words then it is called “bol tan”. If just the vowel “AH” is used then it is known as “akar”. The gatkidi is a special, highly ornamented tan that is found in the tappa style of singing.
The tan is also found in instrumental performances, although the treatment will be slightly different.
Selected Video
Other Sites of Interest
Women as a Proposition to Explicit the Esthetic Values of North Indian Classical Vocal Music
Multiple Viewpoint Modeling of North Indian Classical Vocal Compositions
Sonic Performativity: Analysing Gender in North Indian Classical Vocal Music